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WORKING TITLE FESTIVAL — Kasper Vandenberghe climbs on a scaffolding clad in a protective suit and then drops down like a rock. It is calculated recklessness. It is a poetic search for how vulnerable we can still allow ourselves to be and how we can understand vulnerability as a force. It is dancing on the loose rope between two deeply human desires: the desire for balance versus a bottomless leap into the unknown.

WORKING TITLE FESTIVAL — Hidden at the basement of workspacebrussels, lies Kosi Hidama’s atelier. Occupying the space over the past few years, his work slowly started invading all the other spaces of the building. With Garden of solid subtleness Kosi will create an interior summer garden with the ceramics he produced at his basement atelier, in combination with subtle sounds. The artist invited his friend Misha Downey to work with him on this pottery landscape.

WORKING TITLE FESTIVAL — You can’t marry for papers only. If you want to keep a foreign national in the country, you are expected to create what the Belgian government calls 'a sustainable community living’, otherwise the relationship falls into the category of a fictitious marriage. What if two artists got married, without having a romantic affair?

WORKING TITLE FESTIVAL — Emi Kodama and Elias Heuninck encourage you to look at an ordinary object and explore a vast imagined landscape through its miniature world. They show that everything can become many things, as long as you allow your imagination to look beyond its current reality.

WORKING TITLE FESTIVAL — Within a series of small compositions, bodies are placed and displaced in relation to each other. Playing with weight and balance, they counterbalance and shape the space between them. In the margin of the performance, Wouter Krokaert also shows the visual work that underlies it. What is explored in one area is reinforced and supplemented in another, across the boundaries of disciplines.

WORKING TITLE FESTIVAL — The inhabitants of the village of Moshenka, who try to breathe life into the dilapidated cultural centre, witness a rural Russia in transformation between forgotten traditions and post-war trauma. This documentary installation by Niko Hafkenscheid and Valentina Stepanova wants to enter the vast, physical space of the Russian backlands and question what can you dream of today in Moshenka.

Blind Spot is a quest to find what scarce traces remain of Epp Kotkas, an Estonian artist who was active in the experimental dance scene of New York in the 60s and 70s. Talve combines fact and fiction to tell the story of an artist who was totally unknown in her home country. What you witness is an essayistic memory that attempts to reconstruct an unrecorded past.

This interactive installation, somewhere between documentary and fiction, takes as its starting point intimate tales of first sexual experiences in times of war and peace in the Middle East. The work is based on testimonies from several generations of citizens from Palestine, Iraq, Lebanon and Syria, adults’ memories of their teenage years.

Hiba Alansari found a math book in a destroyed house in northern Syria in 2014. It belonged to a young girl who died during the bombardment. The Math Book is a collection of sculptural forms in cement and sponge, designed to encapsulate the moment of the explosion.

104,5° is the angle formed in a water molecule, between the two hydrogen atoms, and the oxygen atom H-O-H. The Breadth of 104.5° is the umbrella title over an ongoing series of works by the artist, dedicated to exploring the ideas and notions around the essentiality of one of the most, if not the most, important element for the existence of life as we know it.

With a role of tape and a magic lantern, the children in PLAKFILM gauge the turbulence of our age. They roll out transparent tape in the streets where they grew up. When they strip the tape away, an imprint of the city comes with it: dust, sand, candy wrappers, insects, glass, bits of fluff…

Never have so many messages been sent into the world or have we ever been as reachable. But do we still really talk to each other – or only to ourselves and our devices? In AntennA, Kevin Trappeniers constructs an antenna that is several metres high, creating a new, silent space. What might the content of this new void be?

There is a growing realization that the natural resources and space on our planet are finite, and a growing fear of climate change. But can we move from the acquisition of knowledge and experimentation to genuine change and spatial transformation?